I have followed this thread with an awed fascination. Quite clearly there are fiercely committed protagonists for a number of different definitions of what a Folk Club is (or was) and it is the nature of whichever definition you adhere to which determines perceptions as to collapse or otherwise.

The clubs I attend regularly are essentially singaround gatherings 3 weeks out of 4 (say) with guests (usually of national standing) once a month. The attendance on guest nights is generally higher, as you would expect, but the quality of the guests is largely dictated by the attendance at the other sessions which provides the income to enable their booking (capacity constraints make it well-nigh impossible for guest nights to be self-supporting financially). If the singers' nights are poorly attended sooner or later this will adversely affect both the frequency and calibre of the guests booked.

The Club host is going to know his/her regulars (or residents "because they're always there") and should then exercise judgment as to who gets a spot on a guest night. Sensible regulars should respect that judgment; after all there is plenty of opportunity for them to perform at other times. If they are motivated by vanity, or lack a self-critical faculty, they may well feel disappointed or even take offence; this doesn't have to be terminal, with a bit of tact (perhaps an extra spot, or the closing song, next week ...).

It is only on the rare occasion (maybe once a year) that residents may be booked as support act(s) for a particular guest night. At all other times, yes, the professional guests and the paying audience are going to be exposed to the floor spots and obviously it is in the best interests of the club to show off the strength and quality of its support.

I go along hoping, but not expecting, to get a spot and I show my respect for the guests (as I hope do others) by practising songs which are broadly compatible with their own music (and therefore the tastes of the audience they will attract). Various posters seem to suggest that artists and audiences need protecting from exposure to anything other than what they already know; however in my experience their response, often enough, shows genuine appreciation of originality and new material, and encouragement to the people who provide it.

I reckon you have to be selective in the venues (clubs or sessions) you attend but sometimes you just have to tolerate parts of what you get when you arrive if it is not to your taste. You're there for the rest of it - the "good" bits - and if that's not enough sooner or later you'll go somewhere else anyway. I drive a fair distance to clubs where I get a good night's entertainment (and participation!); if I judged even those clubs on the merits of their (to me) worst performers or most boring/self-indulgent songs then I wouldn't leave the house. The clubs won't collapse if I don't go, unless I'm the last straw in which case they are probably past saving.

Henry